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María Ortiz FAT 1 PRACTICE 1 Project : Keyword

FAT 1 Project : Keyword

DEFINITION: in·ter·ac·tive adj. 1. Acting or capable of acting on each other. 2. Computer Science Of or relating to a program that responds to user activity. 3. Of, relating to, or being a form of television entertainment in which the signal activates electronic apparatus in the viewer's home or the viewer uses the apparatus to affect events on the screen, or both.

I started looking into Contemporary Art pieces from the 1960ʼs to our days having in mind Ecoʼs concept of the Open work. This concept served as a guide to start a distinction in different types of interactiveness. My major concern during this research was to make a focused investigation in order to target my own graphic piece.

Related keyword search: • • • • •

Interplay Playful Do it yourself Customize Multidisciplinary

Synonyms: • • • • • • • • • • • •

Bilateral Collective Reciprocal Associated Communal Conjoint Conjunct Connected Correlative Dependent Interdependent Participated

One of my main areas of interest to work on during my two-year MA in Graphic Design is how to create great imagery for Fashion Design more specifically Costume History. As part of my practice 1 project I was encouraged to choose a keyword from my proposal. The word I have chosen is ʻinteractiveʼ. My aim for Fat 1 Project is to do research on interactiveness in different fields such as Graphic Design, Industrial Design, Fashion Design and Art.

Fields of interest for interactive research: Art (collective art) Graphic Design (paper printed) Industrial Design (products / multidisciplinary) Fashion Design (process / games)

There are also many works I collected from different design fields. When looking into graphic design pieces I tried to gather paper printed examples such as coloring books and child games. One of my key points during my theory research is that playful activities related to people's childhood are a good way of creating interactive pieces for adults. Another concept I focused when searching for examples was craft. Handmade objects in which the user can interact or collective crafting experiences. After gathering all sorts of examples of interactivity I started grouping them in different types of interactions. This came out as a graph which explains how interactivity works in design and art. The aim of the graph is to find in what ways a user can have interaction with a product and how open or closed are the amount of decisions a user can make on the final piece.

The different types of interactions I found during my visual research led to this graph. Final object May be more associated with art where a collective group of artists create a piece of art with an interactive process. E.g:

Users interaction (Coloring book)

Unfinished object

Interactivity in the process

Interactive Design

Multiplicity of objects Finished object

Multiple uses or customizations Apps / Collectibles with interchangeable features

some maybe finished some not

Users interaction e.g: Make your own Vegetable garden Kit.

Visual Research: ART Yayoi Kusama: Obliteration Room, 2011. Source: Malba, Buenos Aires.


Chromatic interaction: The space and the furniture are conceived in white color as a symbol of emptiness and pureness. The dots available for the customization where made in a primary palette (Cyan, magenta, yellow) with a high level of saturation intended to stand out and leave the elements inside the room annulled.

The color choice could have a direct link with the artist career since she became famous in the sixties when geometric dot patterns where a huge trend. There麓s also a reference to the sixties optical art created by Vasarely, Riley and others.

Bob and Roberta Smith. Make your own Christmas, 2008. Source: Tate Modern. The past years crafts and handmade objects have become more popular. This particular example reflects interactivity, crafting, recycling and a global event like Christmas (shared memories and feeling all around the world). It was made with recycled materials from the Tate Modern and people were encouraged to ride one of the bicycles located in the base to generate electricity in order to turn on the Christmas lights. It始s also a good example of Collective Art and in this particular case, it始s a continuous process, it始s not a final piece of art but a constant metaphor of what we can do for ourselves. The way in which recycled materials were used can be related to child's play and also to Christmas memories were crafts and paper cards are commonly used to share feelings and wishes. During the installation people were asked which was their favorite and least favorite Christmas memory.


2009, Robert Morris: Bodyspacemotionthings.Source: Tate Modern.


This is a re-creation of Tate Gallery’s first fully interactive exhibition which took place in 1971, inspiring a huge media and public interest, when an art gallery asked people for the first time to physically interact with an artwork. In the year 2009 it was recreated on the ground floor of the Tate Modern Gallery and the users were encouraged to physically interact with the different platforms. These platforms conditioned the user to use them in one or two ways. There is a predeterminate action that would take place in each “game”. What is interesting is the chromatic choice: in some choosing only wood and white helps this piece of art have a connection with Kusama’s Obliteration Room where the dots provide the color. In this case, people are who provide the liveness to the space.

Visual Research: ART


UK designers Mark McCall and Richard Dorey.

Visual Research: GRAPHIC DESIGN Coloring books have been a way to interact with graphic-3design pieces for a long time. In this particular example the research work behind the book is the key feature. Doing research on an urban tribe such as Goths drove what was known as a children's related design into a design for adults. (changing context / user) Also playing with irony is a good way of creating a design. Thereʼs a joke in the fact that you only get a black colored pencil to paint goths. The topic of the book and the black pencil are decisive for the final product giving the user a small amount of freedom in the interactivity.

This work from Rasheed Araeen originally consisted of an arrangement of one hundred latticed cubes, set in a square. Viewers were invited to interact with the work, freely moving the components into new forms. According to the author the interaction derived into asymmetrical constructions liberating the art work from it’s minimalist essence.

Another example of coloring books designed for young girls with sense of fashion. The book is not only interactive but aim to acknowledge young girls in classic fashion designs.

6. By Nina Chakrabarti.

1968-2007, Rasheed Araeen: Zero to Infinity


Hyperlink craft by Magda Pedrosa. Source:

7. A good paper translation by Magda Pedrosa on how hyperlinking would work in real life. Different folders that connect to each other not in a linear way but in multiple directions.

Visual Research: ! WEB/APP DESIGN A web where you can cut and paste figures and parts of famous paintings and mix them in a new one created by the user. I find interesting that while you make the collage you are learning about art. It麓s educational and a great example on the Convergence / Remix concepts I始ve been working on my Research and Enquiry Module.

Welcome to convergence culture, where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways.. (Jenkins,

H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.)

Convergence Culture is a key concept in how interactive pieces work nowadays. In almost every one of the examples I始ve given before there is a remix of old contents: Optical art / new Context, Fashion Design / Constructivism, Old embroidery techniques, Paper folding, Christmas crafts, Art masterpieces and so on. According to the project developers, this is the aim of the website is: Mixerpieces was made at a school project for the Multimedia Design class, where we were asked to create a cybertext. We wanted to build an online machine, where the user could navigate through a brief history of painting details, and by choosing, editing, and mixing them, make his/her "own" artwork.

8. Project developed by Rita Huet with Dayana Lucas e Jo茫o Neves


Magritte iphone app Tate Modern.


This iPhone app allows you to take pictures of your favorite views, landscapes or landmarks and ‘Magritte’ them with an animation inspired by one of Magritte’s most famous paintings, Golconda. I think this example is relevant because is in some educational. Although is only one art work of Magritte you will use is a good app to learn a famous painter.

Visual Research: INDUSTRIAL DESIGN Crossover Collective by Floor Nijdeken Source:


This collective crossover machine is meant to create a communal piece of art. Six or more people can intervene the same piece of fabric with different embroideries. Crafting activities have had a huge comeback since early 2000s in many different ways. Old techniques such as paper cutting, embroidery, glasswork and many others are very popular among new artist and designers. This interactive experience is not only an author-reader connection but itʼs aim is to make a collective piece of art. The interactivity is meant to happen in the process and not in the final piece.

This interactive rug for kids made by Rosenberry Rooms. Whatʼs interesting is that the interaction could be made in different contexts (you can carry this game) and with different types of toys.


Embroidery Bowl - Onna Vautrin.

A bowl that can be embroidered by the customer.


It始s a good example on how different materials can be mixed. Again we can see multidisciplinary design. Although the embroidery gives a sense of warmness to the product the only way you can embroider the bowl is with geometric figures in some way keeps the a certain aesthetic preconceived by the designer. The user can create different types of geometric figures and there is a certain level of freedom proposed by the designer.

13. A good example for interactive design could be the renown designs created by Hussein Chalayan back in 2000. A model walks to what is supposed to be a table and transforms it into a skirt. What is important to highlight in this particular example is the multidisciplinary approach and the mixture of textiles and non textiles for fashion. Historic reference: Deconstructivism / japanese 70s and 80s designers (Comme des Garcons) / Bauhaus (triadic ballet)

2000, Hussein Chalayan. Source:

Visual Research: FASHION DESIGN

FAT 1 Project : Focused research Convergence / Remix

Interactive Design Graphic Piece

Childhood memories (My remix is made from childhood dress up games and Iʼm focusing them on Costume History)

Costume History

As a conclusion to my visual research I started looking into Graphic Design pieces which included Fashion Design as a theme and were meant for children (this is important because the way the user interacts as a child is the same way I will use to provide interaction in my final piece). On the other hand I based these type of interactions (dress up games) on the Convergence/Remix theory (cited in Mixerpieces example above) so my aim is to use old contents (Fashion History garments) allowing the user to combine them in any way they want. They can mix garments, accessories, wigs and make up in infinite ways for example they would be able to use under garments as outer garments as well as mixing time periods (Rococo skirt with an 80ʼs leather jacket).



It is also part of my theoretical investigation that we now live in what Ted Polhemus calls “Supermarket of Style” affirming that all of the street styles are now sold like cans in a supermarket and that we can mix them as we wish. This theory allows me to support my final work because users will relate to a common practice.

16. 17.

I seek to work on an educational interactive piece with Costume History as the main theme that would be targeted to Fashion designers. They will be able to create new silhouettes and gain inspiration for new collections. They will also learn the name and use of the garments in Costume History. People with a interest in fashion and children will be able to use the graphic piece.

FAT 1 Project : Experimentation

Some of the first drawings in pencil.

In order to focus my work I decided that a Museum should be my client. In this case I have chosen the Victoria & Alberts Museum because it has one of the biggest collections of clothing through the ages. I translated into illustration a group of their pieces from different time periods, styles, colors, textiles, techniques and designers so that the interaction would come in an interesting silhouette. My first achievements in trying to represent the garments were still poor at the beginning because they came out looking really plain. I wanted to be appealing to fashion designers so I used mixed techniques and ver stylized figurines.

A mixed media illustration mixing a 1940始s evening dress, a Stephen Jones hat and a Nineteenth Century necklace. This is the type of expressiveness i was Looking for.

Vector drawings that came out very flat.

FAT 1 Project : Final piece

Finally after trying different techniques I made these final pieces to show the garments and their interactions. My aim for the second part of Practice 1 will3 be to find a common language between the illustrations and an appropriate platform to show them.

Pose 1 Silhouettes: Three different silhouettes created with historical costumes of the Victoria & Alberts Museum. A- Created with an iconic Dior Jacket from his 1947 collection. It is combined with a Nineteenth Century crinoline and an 80s rock costume cravat. The socks are egyptian and the Beret is a designed of Bella Freud from a 1993 collection. B- This silhouette combines a 1937 Jacket created by Charles James and Indonesian trousers. The hat was part of an ensemble made by Jacques Faith in 1949. C- The last silhouette mixes nineteenth century underwear.




Pose 1 Garments

Pose 2 Silhouettes Three different silhouettes created with historical costumes of the Victoria & Alberts Museum. A- Outfit created with a 60s Andre Courreges dress, a 1990 Sally Winider leather jacket and a 1920始s Garconne style Cloche. B- Dress by Bill Gibb froma 1972 collection combined with a 1930始s strapless bra. C- A 1660始s doublet for men is mixed with a 1920始s garconne style dress. The hat and the boots are from the Nineteenth Century (Victorian style).




Pose 2 Garments

Pose 3 Silhouettes Three different silhouettes created with historical costumes of the Victoria & Alberts Museum. A- 1950始s dress combined with a Burmanian Hat from early Twentieth Century. The embroidered scuffs belong to the Nineteenth Century. B- A theatre costume based on a Greek Khiton is mixed with a Stepehen Jones hat from the 1980始s. C- Some iconic pieces like the Stay Alive in 85 T -shirt by Katharine Hamnett and Schiaparelli shoe hat are mixed with a pair of trousers from the Eighth-teen Century and Nineteenth Century red leather boots.

Pose 3 Garments

FAT 1 Project References 1- Kusama, Yayoi, Obliteration Room. 2011. Malba Museum, Buenos Aires.

13- Chalayan, Hussein. Afterwords. 2000.

2- Smith, Bob and Roberta. Make your own Xristmas. 2008. Tate Modern.

14- Artist unknown. Q-Lia Goth Lolita sticker dress up doll.

3- Morris, Robert. Bodyspacemotionthings. 2009. Tate Modern.

15-Artist unknown. Dress-up dolls.

4- Araeen, Rasheed. Zero to Infinity. 1968-2007. Tate Modern.

16- Mattel. Barbie Fashion Plates.

5- Mc Call, Mark and Dorey, Richard.

17- James & Jonathan INC. Dress-up dolls. 1969. noredirect=1#5593691080221935634

6-Chakrabarti, Nina. My Wonderful world of Fashion. 2009. Laurence King Publishing LTD. 7- Pedrosa, Magda. Hyperlink in Print. 8- Lucas, Dayana and Neves, Joao. Mixerpieces. 9- Designer unknown. Magritte iphone app. Tate Modern. 10-Nijdeken , Floor. Crossover Collective. 11- Rosenberry. Interactive rug. 12-Delvigne, Guillaume and Vautrin, Oma. Embroidery Bowl.

Maria ortiz fat 1 practice 1  

Fat 1 MA

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